Disneyland

When the creators behind Universal Studios Hollywood’s soon-to-open “Fast & Furious” coaster discusses the attraction, they speak of it not only as the most grown-up, intense ride at the park, but also as one of the most extreme coasters in Universal‘s global portfolio. That means, in theory, a ride as vaunted as its Florida coasters Jurassic World VelociCoaster and Stardust Racers.

For riders, some of the perception of danger will come from the coaster’s location. Fast & Furious: Hollywood Drift is set on a hill between the park’s upper and lower lots. It will careen over, under and around guest escalators, and take attendees on a journey that includes multiple inversions and speeds of 72 mph, making it the fastest coaster at any Universal park. A particularly unique facet is the ability for its cars, each meticulously designed after a real vehicle, to rotate 360 degrees.

Plenty of coasters have the capacity to spin, but Universal has been hyping the high-speed “drift” sensation of its cars. Each ride vehicle will have distinct programming along the coaster’s 4,100 feet of track, and the hope is to create the feel of a stunt car just barely maintaining its control.

I like a coaster, but I’m also, I’ll admit, a tad squeamish. Hollywood Drift is expected to open by mid-summer, and at the time of writing, only Universal stakeholders had been on the attraction. Jon Corfino, the park’s lead creative executive, was one of those riders, so as he gave me a tour of the coaster, I pressed him to describe what the experience is like. Here’s what I learned.

So Fast & Furious: Hollywood Drift is intense. But just how intense is it?

A loop on Fast & Furious: Hollywood Drift.

(Todd Martens / Los Angeles Times)

The late, great theme dark designer Eddie Sotto once devised a simple formula for what makes a good coaster: Fear minus death equals fun. I wanted to ask Corfino just how scared I would be. Answer: Pretty frightened. Probably.

“It’s a high level of intensity, absolutely, for sure,” Corfino says.

And yet Corfino tried to calm my nerves. Hollywood Drift, he explained, is designed to feel relatively slick — polished, if you will.

“I’ve ridden coasters that I would say are high intensity, but they’re very aggressive,” he says. “They’re very rough. But if you look at what we tried to achieve here, it’s that you’re in a [car] vehicle. It’s very smooth. It’s not something that would be not natural for a car, if that makes sense.”

Well, except for the whole going upside down part. Based on Corfino’s assessment, we can expect some white knuckles, as Hollywood Drift will lift riders off their seats at multiple points.

“You definitely feel you’re coming out a couple times, and not the least of it is when you’re upside down,” Corfino says. The coaster will utilize a lap restraint that extends from the top.

“You’ll be holding on,” he says. “When you’re upside down, you’re holding on.”

What about the drops?

Unversal Studios’ Hollywood’s Fast & Furious: Hollywood Drift is set to open this summer.

(Todd Martens / Los Angeles Times)

Corfino didn’t pinpoint the exact steepness of the drops on Hollywood Drift, but riders will encounter one immediately after launch. When exiting the show building, designed to look like a warehouse garage, Hollywood Drift will take a sudden dip off a cliff. The sharp drop is one of many.

Riders will encounter, for instance, a so-called “bunny hop,” which is typically a series of small hills that provide airtime. But Hollywood Drift will play with riders’ expectations through its terrain. Those mid-ride hills are “actually pretty darn steep,” Corfino says. And then before the ride ends, riders will go up, over and under Universal Studios’ most recognizable feature (except perhaps Stuart the Minion): its escalators.

“When you go up over the loop, that’s very steep. You’re coming straight down over the stairway and then underneath the stairway,” Corfino says.

How real are the cars?

The minicars of Fast & Furious: Hollywood Drift.

(Todd Martens / Los Angeles Times)

The coaster will feature four heavily detailed miniature cars as ride vehicles. These four-seaters — mimicking a Dodge Charger, Mazda RX-7, Nissan Skyline GT-R and Toyota Supra — all come complete with working taillights. And each has its own distinct sound effects, engine and brake noises that match their real cars. Guests will hear brakes each time the vehicle drifts or turns.

The minicars aren’t complete tiny re-creations. The odometers in the coaster cars, for instance, are for show only.

“The truth is I was really laboring,” Corfino says of the accuracy of the coaster cars. “They all have realistic sound effects, and when you hit the bottom, the big launch, I wanted to hear the NOS kick in. But you’re going so fast, at 72 mph, and with the wind, you’re not hearing anything. Quite frankly, your vision is even kind of shaky because you’re going so fast.”

That sort of attention to detail is what separates a Universal or Disney coaster from so much of the industry — even if riders will be clutching their restraints too hard to notice the discrepancies in each car’s engine roar.

I’m eager to get on the ride. I will, however, pretend I didn’t hear Corfino say that thing about “shaky” eyesight.

This week in SoCal theme parks

Dataland is now open in downtown Los Angeles. Theme park fans should give it a look.

(Carlin Stiehl / For The Times)

• “Stranger Things” lives at Halloween Horror Nights. Universal Studios Hollywood’s trickle of announcing haunted houses for its Halloween event continues. After unveiling a “Sinners” house earlier this year, Universal has added “Stranger Things” to the roster. “Stranger Things” is no outsider to the festivities, but this house will be themed specifically to the show’s fifth and final season. Expect, of course, some Demogorgons and other nasty creatures. Halloween Horror Nights is set to launch on Sept. 3.
• Theme park fans, pay attention to this new museum. Now open in downtown Los Angeles is Dataland, which was described by this outlet as a “25,000-square-foot immersive, environmental, generative, multisensory AI arts museum.” While there’s much to discuss and debate regarding the center’s use of AI, Dataland’s inaugural exhibition, “Machine Dreams: Rainforest,” is the kind of all-encompassing, wrap-around display theme parks are known for (I’d argue Dataland is, in fact, more indebted to theme parks than the world of fine arts, but that’s another column). No doubt those in the immersive space are paying close attention as to how Dataland is received.
• “Toy Story 5” has arrived, in theaters and at the Disneyland Resort. Fans of the “Toy Story” franchise will want to make their way to Disneyland’s Pixar Place Hotel, where a second-floor exhibit features drawings and sculptures from the new film. And for hotel guests, coming July 2 is the “Disney Poolside Splash Bash,” a pool party with music, trivia and appearances from Jessie, Bo Peep and Woody. If you’ve seen the movie, I encourage you to check out Amy Nicholson’s review of the work. She found, perhaps, that the toys have overstayed their welcome.
• Bag checks and metal detectors arrive at CityWalk. Universal Studio’s theme park adjacent shopping and dining area is home to a couple should-be cultural institutions: the Los Angeles outpost of Jimmy Buffett’s Margaritaville and one of the finer Imax theaters in the nation. Now getting to either comes with an extra hurdle, as Universal has placed CityWalk within the theme park’s security zone. Prepare for bag checks, metal detectors and extra time if you’re heading to a sold-out screening of Christopher Nolan’s “The Odyssey.” The local film community, as reported by The Wrap, is having a fit.

What I’m thinking about

A media image distributed by Adobe and Walt Disney Imagineering is designed to show how AI software can be used in the design process.

(Adobe / Walt Disney Imagineering)

Generating attention this week was an announcement from Adobe and Walt Disney Imagineering, the creative arm of the company responsible for theme park designs, regarding a new AI partnership. AI is a term I generally believe is rightfully viewed with skepticism, especially when it comes to creative work. As a writer, I view utilizing AI to help craft a story as strictly forbidden; journalism, after all, is a storytelling art. But I’m not above tools that can help accelerate tedious aspects of the process, such as using AI to help transcribe an interview.

So places in which Adobe’s Firefly Foundry could, say, transform drawn 2D renderings into potential 3D models seem not entirely troublesome, especially for an industry in which one of the most time-consuming aspects is the build. And yet there were components of the announcement, as well as the press materials distributed with it, that made me cringe. The generation of on-demand, on-brand assets, for instance — one of the promised abilities of the software — is a job for an artist, not a computer.

And Adobe and WDI proved my point. Accompanying the press release was an image of Disneyland’s Haunted Mansion ride vehicles, the Doombuggies, as re-imagined by the program. A perfect, coffin-like design from Bob Gurr was now bedazzled with garish, grotesque imagery that had little similarity with anything in the Haunted Mansion. That the two companies viewed something this amateurish as a prime example of what the software could achieve should raise an eyebrow.

Tell us your stories. Ask us your questions.

Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.

Ride on,

Todd Martens

P.S.

Changes are coming to Disneyland’s classic Autopia ride.

(Allen J. Schaben / Los Angeles Times)

Disneyland’s classic Autopia attraction is facing a deadline. The Disneyland Resort has already stated that the gas-powered minicars of Autopia would be on the way out in early 2027. Disneyland officials confirmed just a few weeks ago that the park has an agreement with the California Air Resources Board to retire the current engines next year. No closing or reopening date has been announced, and no details on the new cars have yet been released.

But, thanks to new reporting from environmental reporter (and former Times staffer) Sammy Roth, it’s been revealed that the theme park faces a strict deadline to begin making the switch. In a recent edition of Roth’s Climate Covered Goggles, the writer noted that due to an agreement with the board, Autopia in its current form must shut down by Feb. 1, 2027.

While that doesn’t shed any clarity on when the ride may reopen with refreshed vehicles, it at least provides a timeline as to how long it will likely exist in its current form.

When Jon Corfino was among the first to test ride Universal Studios Hollywood’s new high-speed “Fast & Furious”-inspired coaster, it was the culmination of a convoluted decade-plus journey filled with uncertainty. For before any track was laid, before the ride was even associated with “Fast & Furious” or any film franchise, Corfino, the park’s lead creative executive, didn’t know whether a coaster could even exist.

Universal Studios Hollywood is landlocked, constructed around a working film studio, meaning space is at a premium. And then there’s the problem of noise. Coasters, historically, are loud, and film productions necessitate a quiet environment. The theme park is also nestled against a neighborhood full of homes and apartments.

To make it work at all, the coaster would need to stand on a relatively steep hill, winding over, under and around escalators between the park’s upper and lower lot. It extends significantly beyond guest-accessible areas, visible even from nearby Ventura Boulevard. “It wouldn’t be your first choice,” Corfino says of the topography. “But in a way, it makes it more dynamic that we were able to do it.”

He continues, “Everything we do is a bit of invention.”

When discussion on the project first began a decade or so ago, Universal Studios Hollywood was far from a thrills park. While the Wizarding World of Harry Potter was nearing completion and would open in 2016 — a full-scale re-creation of a fictional world that would alter the tenor of the park — the vast majority of Universal rides were designed to place guests inside the world of stories they had already seen on the screen. Or to let them “ride the movies,” as Steven Spielberg once coined. The park’s portfolio was also dotted with stunt and animal shows.

Fast & Furious: Hollywood Drift will reach speeds of 72 mph and take riders through multiple inversions.

(Todd Martens / Los Angeles Times)

Universal was once heavily dedicated to pulling the curtain back on how movies were made. A coaster simply didn’t fit the vibe.

“It was never a thought,” Corfino says of his earliest days at Universal back in the 1990s. “It was a different ethos. We were going to take you behind the scenes and show you stuff. But during the epic transformation of bringing in ‘Potter,’ and immersing you in different environments, it became more of a reality.”

And so began the process of looking for a franchise to associate with the coaster, one that would still make sense with Universal’s inside-the-movies mindset. At the time, there already was a “Fast & Furious” segment on Universal’s behind-the-scenes tram tour (now shuttered, a replacement is expected to be unveiled in 2027).

“You go through a lot of ‘what ifs,’” Corfino says. “I can say, one of the earlier ‘what ifs’ was ‘what if this,’ in terms of brand. We already had one [‘Fast & Furious’ attraction] on the backlot, but we didn’t know what else we were going to be doing, so you go through a lot of different ideas. But it was early on that we said, ‘This brand speaks to it.’”

The view of Fast & Furious: Hollywood Drift from Universal Studios Hollywood’s Wizarding World of Harry Potter.

(Todd Martens / Los Angeles Times)

Fast & Furious, the street racing mega-franchise that’s celebrating its 25th anniversary this year, works in part because Universal could theme the coaster around cinematic stunts. Before guests board the ride, they will walk through a twisting queue area that will focus on prop cars with installations designed to show how movie magic is brought to life. Guests will be prodded to scan QR codes to further go behind-the-scenes, that is if they’re not distracted watching the coaster, which will launch directly above them and then go on a journey through multiple inversions on the side of a hill.

And then there was another problem: Would it be too loud? Before land was moved, Universal placed speakers on the old special effects and stunt buildings to see how noise traveled down the hill. “We did recordings all over the place and really established a baseline on which to design,” Corfino says.

Ultimately, the tracks would be complemented with multiple sound walls and shields, the latter clear structures designed to block coaster rumbles and audience screams. And because the cars can rotate 360 degrees, Universal can in theory direct rider yells away from the studio below and the neighborhood nearby. What’s more, the actual track has been filled with pea gravel, designed to minimize nose from any reverberations.

“It’s incredibly quiet,” Corfino says. “We were able to do that by putting materials inside portions of the track to deaden the sound. I’m not sure we would have needed it, but it was important to do the right thing. It’s pea gravel and rocks. It’s quieter than I ever thought it was going to be.”

VP of Universal Creative Jon Corfino, who led the creative development of the Fast & Furious coaster, photographed in 2019.

(Brian van der Brug / Los Angeles Times)

A 72-mph coaster with 360-degree rotation and multiple loops and inversions that’s relatively muffled? Perhaps. I can only say that as I watched test cars speed by me last week from an upper lot lookout, the soundtrack from the Jurassic World water ride below was certainly louder.

An opening date for the coaster has not yet been set, but it’s soon. The other week the Universal website briefly posted June 26 as a launch date, and while that was once a targeted day, it will not be the coaster’s grand opening, which is now expected after the Fourth of July holiday (the coaster will be open intermittently for tech rehearsals for some time before its official date).

But Corfino is willing to make one promise. “Given the physical realities of putting this on the side of a hill,” he says, “this is the best view in Hollywood.”

That is, if you’ll be brave enough to keep your eyes open to take it all in.

Universal Studios Hollywood first began exploring a high-speed coaster more than a decade ago.

(Todd Martens / Los Angeles Times)

This week in SoCal theme parks

• Los Angeles loves a parade. Head to the Los Angeles County Museum of Art on Saturday evening for the Art Parade, which is designed to showcase L.A.’s thriving creative community with a colorful procession down Museum Row. Of particular note: Experiential art firm Meow Wolf, which is in development on its first-ever Los Angeles installation, will be participating. Meow Wolf’s L.A. exhibit, influenced equally be sci-fi and cinema, is on target for a winter opening.
• Disneyland history is Los Angeles history. The Autry Museum of the American West has a new exhibit, “Life, Liberty and Los Angeles.” As part of the show, which highlights how SoCal reflected and contradicted our nation’s founding ideals, guests will come across a 1967 Autopia vehicle from Disneyland. Now perhaps a bit quaint, the ride once exemplified our region’s dreams of an open freeway. Autopia is due next year to be remade with electrical vehicles.
• Plan a tour of Walt Disney’s former Los Feliz home. Disney and his family in the 1930s lived in a storybook mansion. Keepers of the house have announced that it will be open on a few select Saturdays this summer for tours. Though a private residence, tours are led by Disney expert Dusty Sage, who oversees the Micechat website and fan community. I’ve been inside, and can report the house is full of unique design quirks as well as a number of only-in-SoCal historic tales.
• A lively night at Downtown Disney. Head to Downtown Disney on Friday at 5 p.m. for Yardfest 2026, an evening to honor the music and traditions of historically Black colleges and universities. Expect performances from the Texas Southern University Ocean of Soul Marching Band near the area’s live stage, which itself has a unique design paying homage to famed Black architects, as well as specialty food offerings and Mickey Mouse in his drum major outfit.

Ride report

Knott’s Berry Farm has a new show inside the Calico Saloon dubbed “Spirits and Shenanigans.” The production is part of the park’s summer offerings.

(Todd Martens / Los Angeles Times)

Today’s report is on a show. It’s summer season at Knott’s Berry Farm, which means a new storyline for its popular Ghost Town Alive!, a heavily improvised, actor-led experience that unfolds like a live-action role playing game. New this year is a hootin’ and hollerin’ good time of a show in “Spirits and Shenanigans,” which takes place in the Calico Saloon inside the park’s historic Ghost Town.

At 25-minutes, the production centers on the fictional husband-and-wife bar proprietors, who sing of leaving Illinois to open the spot, as well as its boot-tapping, can-can dancing staffers. Just ever-so-slightly risque with a bit of a patriotic feel, it’s a fast-moving ode to drinking holes and the sense of local community they provide. Expect tap dancing as well as numbers that will turn the entire stage into a drum kit. So if you’re heading to Knott’s this summer, “belly up to the bar,” as they sing, and grab a Boysenberry IPA and one of the few inside seats for this lively, can’t-miss production.

Tell us your stories. Ask us your questions.

Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.

Ride on,

Todd Martens

Six Flags Magic Mountain wants to change its narrative.

Known as a destination for thrill seekers, the coaster-heavy amusement park is putting the emphasis on its animated characters.

Now open is a revamped, kids-focused area in Looney Tunes Land, a remake of the former Bugs Bunny World and Whistlestop Park. All told, it’s a 5-acre space with nine rides, including two kiddie coasters, as well as still-to-come play areas, a live show and an in-development augmented reality experience.

I last walked through the area about two summers ago, and it was in a derelict state. I’m happy to report it’s more welcoming, prettier and dotted with plant life and landscaping.

Gone is the vintage Magic Flyer, once Magic Mountain’s oldest coaster (the park’s eldest thrill seeker is now Gold Rusher). Also among the casualties: Tweety’s Escape, a steel swing that placed children in birdcages that had begun to look like mini jails. It was a grim-appearing ride.

The remaining attractions have all received some much-needed TLC. Some even have added mini storylines. What was Whistlestop Train, for instance, is now Taz’s Tasmanian Train Tours. It follows a narrative in which the ride’s titular character has escaped the zoo and is eluding capture, generally causing havoc on the countryside. It’s a calm, slow-moving ride through a small green space, and we see failed attempts to trap Taz, such as an overgrown mice contraption. The ride concludes with a mechanical not-so-hidden Taz, but not before glimpsing a statue of Tasmanian She-Devil in full kiss mode.

A look into the Bugs Bunny-focused area of Magic Mountain’s new Looney Tunes Land.

(Myung J. Chun / Los Angeles Times)

The reimagining comes two years after Six Flags Entertainment Corp. and the Cedar Fair Entertainment Co. completed a merger, which in SoCal brought Magic Mountain and Knott’s Berry Farm under the same ownership. Six Flags’ corporate creative producer Clayton Lawrence says post-merger, the company pinpointed upping the family appeal at Magic Mountain as among its first orders of business.

That meant last summer devoting resources to improving the Hurricane Harbor water park, which Lawrence says specifically attracts families and grandparents. This year, attention was turned to the primary park in Looney Tunes Land.

“We really thought about what this park needs,” Lawrence says. “What will the parents need? How do we slow the guests down a little bit? This park has so many thrills in it — so many coasters — that we wanted to create a place that was nice to take a break from all the action and also develop areas where grandparents and parents could watch little ones burn off energy.”

It’s safe to say that Magic Mountain’s core audience is likely always going to be thrill seekers. And that fan base will be served next year with the planned opening of a new coaster that will overlook the Looney Tunes area.

The kiddie coaster the Road Runner Express at Six Flags Magic Mountain.

(Myung J. Chun / Los Angeles Times)

Magic Mountain attracted 3.3 million visitors in 2024, according to data released by the Themed Entertainment Assn. While Lawrence was not able to break down which percentage of that number included those traveling with children 12 and under, it’s safe to say that a greater family appeal is viewed as one of the ways to boost a SoCal audience.

“There’s a lot of people who grew up coming up here, or their first ride was inside Bugs Bunny World,” Lawrence says. “A lot of families have a daredevil teen who can go on the rides, but they also have a little one. This is about the multi-demo family.”

Looney Tunes Land is broken into four mini areas — Taz-Mania, Road Runner Ridge, Bugs Bunny Play Park and Camp Duck Amok. While there are no major distinctions between the spaces, there are slight differences. Taz’s footprints, for instance, are found in the gravel-colored pavement of Taz-Mania, and in the Daffy Duck locale the flooring looks a bit like rockwork. A small outback-like trail in Taz-Mania will soon be home to an augmented reality game, and a much-needed green space in the Bugs Bunny spot will later this summer be populated with tunnels and little climbing structures.

Asqwer Turki, 13, poses for a picture with Wile E. Coyote at the new Looney Tunes Land at Magic Mountain.

(Myung J. Chun / Los Angeles Times)

There are fun additions to spot on the refreshed rides. The Canyon Cruiser beginner’s coaster, for example, nods to classic Looney Tunes cartoons, specifically prank-filled episodes featuring Daffy Duck, Bugs Bunny and Elmer Fudd. The children’s theater has been remade into Bunny Bowl, and given giant carrots that call the attention of guests.

Such light thematic touches, said Magic Mountain President Brian Oerding, have been missing from parts of the park. They’re vital, he says, in lengthening a guest’s day.

“We’ve learned that softening the hardscape creates a better environment, a better experience, and that means you’re going to want to hang out more,” Oerding says. “Some folks will walk by black asphalt and not think anything about it, but when you look into Looney Tunes Land, and you look at the softness of the pavement and the additional landscaping, we’ve created a happier space. Mom and Dad are happier, and that means they’ll hang out longer.”

Mountain Park President Brian Oerding officially opens the new Looney Tunes Land at Magic Mountain.

(Myung J. Chun / Los Angeles Times)

Looney Tunes Land has also given Magic Mountain some much-needed in-park entertainment, as the area has been lacking a live show for a number of years. “Vacation Mayhem” comes in at just under 15 minutes and features Bugs, Daffy, Porky Pig and Sylvester imagining their perfect getaway spots in song.

Things go wrong, of course, and Bugs even explores some vices by gambling in Las Vegas, which was an odd choice I thought for a kids show, but Looney Tunes did always have a bit of an edge. Nevertheless, the musical numbers, ranging from reworkings of “The Gold Diggers’ Song (We’re in the Money)” to “Hello Muddah, Hello Fadduh (A Letter From Camp)” keep it zipping along.

“If we don’t believe that entertainment and character shows are important, we’re missing it,” Oerding says. “Yes, the rides are cool, but we haven’t done an actual entertainment show in here in a long time.”

And Lawrence says Looney Tunes is essentially a model for the entire park. No, that doesn’t necessarily mean more kiddie rides in the coming years, only that Six Flags is looking at other places where the park can use some beautification.

“This is what we want to do for the rest of the park,” Lawrence says. “Disciplined design. Nice hardscape.”

And here’s hoping for some more plants and an additional fountain or two.

This week in SoCal theme parks

Alexis Rosales of Bell gets drenched by Luke Brodowski, performing as Fluke Mayfield at Knott’s Berry Farm’s Ghost Town Alive! in 2024.

(Allen J. Schaben / Los Angeles Times)

• It’s the most wonderful time of the year. Knott’s Berry Farm begins its summer season on Friday, and that means the return of Ghost Town Alive! This interactive live show, now a decade old, is unlike anything at any other SoCal park, and in my mind it’s the best summer entertainment available. This hybrid live-action role-playing game and work of interactive theater enables guests to live out mini-Wild West adventures while interacting with more than two dozen actors. Players follow a loose story centered on the drama in the fictional town of Calico, in the park’s Ghost Town area. It’s silly, it’s wacky and there’s even a daily newspaper. Ghost Town Alive! runs on select days, and I’ll see you there Friday.
• World Cup, Lego Style! Carlsbad’s Legoland is celebrating the arrival of the World Cup with a host of limited-time activities and Lego creations. The park, for instance, has built a 30-foot-long re-creation of SoFi Stadium, and elsewhere has created brick versions of a host of soccer stars. There are interactive events as well, such as accuracy challenges and games that have attendees trying to score goals off of Lego minifigures. Legoland’s FIFIA World Cup Experience 2026 launches Thursday and runs through July 19.
• Oogie Boogie Bash tickets drop — and a Haunted Mansion street parade? The Disneyland Resort’s popular after-hours event Oogie Boogie Bash returns Aug. 18, and tickets for Magic Key passholders go on sale June 16 (the general public sale is June 18). New this year to the Disney California Adventure experience is what the resort is calling “Madame Leota’s Swinging Wake.” Though not a full-scale parade, expect Haunted Mansion characters — the concept art shows floats of the attraction’s “stretching room” portraits — as well as ghostly dancers. But with something new, something must depart. “Madame Leota’s Swinging Wake” is replacing the “Frightfully Fun Parade.” Ticket prices vary by day, starting at $139. October dates, for instance, top off at $199.
• “Harry Potter” will hover above Dodger Stadium. A theme park-like drone show is arriving Saturday at Dodger Stadium. More than 1,200 drones will soar over the park as part of a “Harry Potter”-inspired production, which will also feature music, trivia and an appearance from the film’s Bonnie Wright (Ginny Weasley). Expect re-creations of “Potter” iconography such as Hogwarts Castle, magical creatures, the Sorting Hat and more. The hourlong show begins at 9 p.m. and Butterbeer will be on hand. Tickets start at $52.90 for adults.

Tell us your stories. Ask us your questions.

Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.

Ride on,

Todd Martens

P.S.

Last week I put out a call for Disneyland fans to share their Carousel of Progress memories. The theater attraction, centered around a rotating auditorium, debuted at the 1964 World’s Fair before making its way to Disneyland in 1967. It was moved to Florida’s Walt Disney World in 1975. The Walt Disney Co. announced recently that the Florida version would be undergoing a top-to-bottom overhaul, but its dedication to technological optimism throughout the decades would remain.

I’m thoroughly enjoying the remembrances. Many cited it as a favorite. “My father was a musician, and it became a family tradition that we’d sit in the back row and sing ‘[There’s] a Great Big Beautiful Tomorrow’ loudly at the top of our lungs from the very beginning of the ride, which I’m sure newcomers thought was weird and probably annoying,” wrote one reader. Another noted, “The mid-60s were exciting years to be a kid, as the future seemed so promising and exciting; the [Carousel of Progress] plugged right into that enthusiasm.”

Many shared similar sentiments. “The animated activities of the characters and their dialogue embraced the ‘Happiest Place on Earth” theme that was prevalent throughout Disneyland in those earlier days,” said one fan. A few, however, called out that the attraction was sponsored by General Electric, making it feel a bit like an advertisement. As one reader summarized: “It was incredibly clunky product placement, even to a kid’s ears.”